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Bukhara Biennial

A portrait of Gayane Umerova standing with her arms crossed against warm-toned brick walls, wearing a cream blouse and beige trousers.

How Gayane Umerova Is Shepherding Uzbekistan’s Cultural Transformation

As the country pours resources into museums, biennials, residencies and international cultural diplomacy, she is focused on ensuring that those investments translate into the development of a self-sustaining, globally visible cultural ecosystem.
By Elisa Carollo
A red-walled gallery with a large chandelier contains long wooden display tables covered with books and papers, while framed drawings and texts line the far wall.

The Venice Biennale and Central Asia’s Rise in the Global Art World

The recent rise of the region in the international art world has been driven, in part, by a concentrated wave of institution-building, biennials, cultural diplomacy and private patronage, with Uzbekistan and Kazakhstan leading the charge.
By Elisa Carollo
An indoor garden installation fills a gallery with soil, rocks, trees and plants.

Global Art Biennials: Renovation, Revelation—or Repetition?

The question remains whether an alternative biennial model can exist within an art system that structurally absorbs and standardizes difference. The answer is no.
By Paco Barragán
Visitors walk past a booth where people use self-checkout stations beneath a digital counter displaying a running total, creating a scene that blends retail cues with art fair activity.

Observer’s 2025 Art Market Recap: Recovery After a Year of Recalibration

By Elisa Carollo
A pair of dark, organic-shaped sculptures stand in a sunlit brick courtyard framed by arched walls adorned with blue woven forms.

The First Bukhara Biennial Reveals That the Most Expensive Ingredient Is Time

By Jelena Sofronijevic
Portrait of a woman in grey suit in front of a building with beige bricks

Tashkent’s CCA Aims to Anchor a New Era in Uzbek Contemporary Art

By Elisa Carollo
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